Download New "Standards" for Singers: The Next

POPULAR SONG AND MUSIC THEATER
Robert Edwin, Associate Editor
New "Standards" for Singers:
The Next Generation of Great
American Songbook Writers
Eric R. Bronner
WHAT MAKES A "STANDARD"?
B
Eric Bronner
Journal of Singing, March/April 2007
Volume 63, No. 4, pp. 457-462
Copyright @ 2007
National Association of Teachers of Singing
MARCH/APRIL 2007
are the common elements of the works in the Great American
EAUTIFUL MELODIES, CATCHY LYRICS, TIMELESS SENTIMENTS: these
Songbook. Popular, jazz, and even classical singers have made these
songs their own since the turn of the twentieth century. No one
would argue the universal appeal of songwriters such as Harold Arlen, Irving
Berlin, George Gershwin, Cole Porter, and Rodgers and Hart.
In the first half of the twentieth century, the main sources of popular
music were the stage, the screen, big bands, and radio. Performers would
broadcast their own arrangements of Broadway and Tin Pan Alley songs
across America's radio airwaves. Artists popular at this time included band
leaders Tommy Dorsey, Glenn Miller, and Duke Ellington, and singers Bing
Crosby, Ella Fitzgerald, Ethel Merman, and Frank Sinatra. Hollywood musicals made stars out of Al Jolson, Fred Astaire, Judy Garland, Doris Day, and
countless others.
Broadway, through its "Golden Age" into the contemporary era, has continued to add to the legacy of the Great American Songbook. Jazz, club,
and classical singers were quick to embrace the beautiful ballads and powerful songs of Rodgers and Hammerstein, Lerner and Loewe, Leonard
Bernstein, Kander and Ebb, Marvin Hamlisch, and Stephen Sondheim.
Recently added to the compendium are the British composer Andrew Lloyd
Webber, the French team Sch6nberg and Boublil (Les Miserables, Miss
Saigon), and current American Broadway composers, Stephen Schwartz,
Stephen Flaherty, Frank Wildhorn, Maury Yeston, Jason Robert Brown,
Andrew Lippa, and Adam Guettel.
The term "standard" conjures up a wide array of nostalgic images of popular music. Through the decades, many of these great songs have retained
their timeless charm and appeal for performers and audiences alike. Opera
stars including Richard Tucker, Marilyn Horne, Thomas Hampson, Dawn
Upshaw, Bryn Terfel, and Ren6e Fleming have included standards in their
repertoire. Seventies rocker Rod Stewart recently recorded several compact
disks of standards, as did Linda Ronstadt over a decade ago. From the current
music scene, even Alanis Morissette, Sheryl Crow, and Robbie Williams can
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Eric R. Bronner
be heard singing Cole Porter tunes on the soundtrack
to the recent film, De-Lovely.
EXPANDING THE TERM
In addition to this historic legacy from Tin Pan Alley,
Broadway, and Hollywood, some pop-rock material is
making its way into the "standard" literature. This is not
surprising considering that the "original" standards were
the pop music of their day. Likewise, the pop music influence on music theater can be seen in the development of recent Broadway shows using the music of Billy
Joel, ABBA, John Lennon, and Elton John. Current chart
singer Michael Bubl combines on his recordings traditional standards with swing and jazz arrangements
of pop-rock hits by the Bee Gees, Van Morrison, and
Paul Anka. Queen Latifah's recent recording of standards includes vintage blues and jazz numbers as well
as the Mamas and Papas' "California Dreamin'." Patti
LuPone included the ballad, "The Air that I Breathe" by
70s band The Hollies, in her New York cabaret act. Many
other cabaret and club singers have added to their acts
songs by Joni Mitchell, Kansas, Queen, and Bruce
Springsteen. Even British soprano Lesley Garrett has
included songs made popular by the Beatles and Elvis
Presley among the classical and standards selections on
her recordings. Following suit, the Hal Leonard music
company has published a four-volume set of standards
that includes traditional "Golden Age" songs, along with
pop hits by the Carpenters, Barry Manilow, Helen Reddy,
Buffy Sainte-Marie, and Stevie Wonder.
THE NEXT GENERATION
While performers are widening the definition of "standards" to include more recent and current pop material,
there is also a group of songwriters producing fresh, new
songs with beautiful melodies, catchy lyrics, and timeless sentiments that can stand with the traditional "tried
and trues:' Some of these writers are classical composers,
while others write for the Broadway and Off-Broadway
stages. Some write for the club scene, and some write in
all of these genres. This article highlights the next generation of writers of the Great American Songbook
through a brief introduction to the songwriters and their
material, biographies of each, and a survey of their published songs. The songwriters presented include Chester
458
Biscardi, William Bolcom, John Bucchino, Craig Carnelia,
Zina Goldrich and Marcy Heisler, Ricky Ian Gordon,
Amanda McBroom, Ben Moore, and Richard Pearson
Thomas.
A BRIEF INTRODUCTION TO SOME NEXT
GENERATION SONGWRITERS
Chester Biscardi (b. 1948) is an international award winning classical composer whose works have been featured
at prominent music festivals and recorded on many classical labels worldwide. His compositions include works
for opera, chorus, voice and piano, orchestra, chamber
ensembles, and solo piano, as well as incidental music
for theater, dance, and television. While most of his vocal pieces are in the art song and operatic vein, his set
Modern Love Songs and his individual song "Chez Vouz"
contain beautiful melodies and heartfelt sentiments that
characterize great standards. Composed in the classical
technique with moderately complex contemporary harmonies and rhythms, these selections easily can be performed in art song or cabaret style. Biscardi's works have
been performed at New York's Lincoln Center, Rotterdam's
Gaudeamus Festival, and many other venues in England,
Japan, Brazil, and Italy. He is the recipient of numerous
honors including the Rome Prize, a Guggenheim Fellowship, an Ives Scholarship, and the Aaron Copland Award.
Born in Kenosha, Wisconsin, he earned an MA in Italian
Literature and an MM in Musical Composition from
the University of Wisconsin-Madison, and a DMA from
Yale University. He is Director of the Music Program at
Sarah Lawrence College.
William Bolcom (b. 1938) is another contemporary
classical composer of world renown. Many singers know
of his CabaretSongs (Volumes 1-4), and more recently,
Ancient Cabaret.The songs in these collections combine contemporary classical harmonic and rhythmic
language with historic European cabaret and popular
American musical style. Many of Bolcom's songs incorporate modern classical dissonances with ragtime, jazz,
and pop syncopations. Born in Seattle, Bolcom studied
composition in France with Darius Milhaud and Oliver
Messiaen, and in the United States with Leland Smith. He
taught at the University of Washington and Queens
College, was composer in residence at Yale University, and
eventually was hired to serve on the music faculty at the
JOURNAL OF SINGING
PopularSong and Music Theater
University of Michigan. His early compositions followed
the academic serial idiom. He later dropped that method
and developed an approach that incorporates popular
music styles into serious classical music. In the 1960s,
he was one of the champions of the ragtime revival. In
1975, he married singer Joan Morris. As a duo they developed recitals and recordings chronicling the history
of American popular song. His compositional output
includes piano music, chamber music, symphonies, art
songs, operas, and cabaret songs. In 1988, he won the
Pulitzer Prize for his 12 New Etudesfor Piano.
John Bucchino (b. 1952) is a popular New York songwriter for the Off-Broadway and cabaret club scenes.
His lyrics are emotional and personal, and his music can
be described as pop-influenced music theater style with
somewhat sophisticated harmonic and rhythmic textures. His songs typically follow a variation on the traditional standard structure (ABA-refrain, bridge, refrain), with an interlude to showcase the pianist. He
often uses chromatic harmonic progressions and driving pop-rock rhythms. His songs have been recorded
and performed by Judy Collins, Barbara Cook, Michael
Feinstein, Art Garfunkel, Patti LuPone, Yo-Yo Ma, Audra
McDonald, Liza Minnelli, the Boston Pops, and the Los
Angeles Philharmonic. His works have been performed
at Carnegie Hall, the Hollywood Bowl, the Sydney Opera
House, and the White House. His numerous honors include the Johnny Mercer Songwriter Award, the Songwriters' Fellowship Award, and the ASCAP Foundation
Richard Rodgers New Horizons Award. His musicals
include The Artist at 40, Urban Myths, and Lavender
Girl. He also wrote the songs for the DreamWorks animated film Joseph: King of Dreams.He has released three
recordings of his original material. He is currently collaborating with director Daisy Prince on a musical revue
of his songs called It's Only Life, and with Harvey Fierstein
on a new musical called A CateredAffair.
Craig Carnelia (b. 1949) is an award-winning composer for Broadway and Off-Broadway, as well as a gifted
songwriter for cabaret recording artists, including Karen
Akers and Andrea Marcovicci. His work follows contemporary Broadway trends that blend traditional music theater and pop styles. Carnelia composes in conventional structures with strophic verses supported by
pop-rock rhythms. Many of his songs have a slow steady
build to an emotional/musical climax. As a performer,
MARCH/APRIL
2007
he has acted on and Off-Broadway. His honors include
the Johnny Mercer "Emerging American Songwriter"
Award, the Gilman and Gonzalez-Falls Musical Theatre
Award, and the Kleban Award for distinguished lyric
writing. He has collaborated with Marvin Hamlisch and
John Guere on the Broadway musical, Sweet Smell of
Success, and with Nora Ephron on Imaginary Friends.
He penned both music and lyrics for the Broadway musical Is There Life After High School? and contributed
four songs to the musical version of Studs Terke's Working.
Off-Broadway, he wrote the songs for the musical Three
Postcardswith Craig Lucas, a revue of songs called Notes,
and contributed songs to The No-Frills Revue, A ... My
Name Is Still Alice, and Diamonds.His new musicals include Actor, Lawyer, Indian Chiefand The Good War.
Carnelia serves as artistic director of the ASCAP Musical
Theatre Workshop in Chicago, and frequently covers
for Stephen Schwartz in the same position for the workshops in New York and Los Angeles.
Zina Goldrich (b. 1964) and Marcy Heisler (b. 1967)
have gained popular acclaim in the New York music theater and cabaret scenes. Perhaps best known for their
songs "The Alto's Lament" and "Taylor the Latte Boy,"
their work embodies comedic Broadway and heartfelt
cabaret style. Their material runs the gamut of musical
styles including traditional ballads, jazzy up-tempos,
torch songs, parodies and comic novelty numbers, and motivational/inspirational songs. The Village Voice "Best of
NYC" edition recently dubbed them the "Best Knocking on Broadway's Door Songwriting Team:"Collaborators
since 1993, the duo has been honored with several awards,
including the ASCAP Richard Rodgers New Horizons
Theatre Award, the Manhattan Association of Cabarets
and Clubs Award, and the Bistro Award in the categories
of Outstanding Special Material, Outstanding Songwriters,
and Song of The Year. Their musicals include Top Secret
PersonalBeeswax: The Life and Times of Junie B. Jones,
Dear Edwina and Dear Edwina Junior,Adventures in
Love, and Allison Under The Stars. Together and individually, they have written songs for TV's Murphy Brown,
Three Sisters, Disney, and PBS. They have appeared at
Carnegie Hall, the Kennedy Center, the Ford Center, the
Chicago Humanities Festival, Montreal's Comedy Festival,
and New York's 24-hour A Train Musicals. Heisler is currently working with Disney Theatricals, writing new versions of 101 Dalmatians,Cinderella,and The JungleBook.
459
I
11 Eric R. Bronner
Ricky Ian Gordon (b. 1956) combines classical compositional techniques with cabaret influences to create
stunning vocal works. His biography quotes The New
York Times, which accurately describes his style: "If the
music of Ricky Ian Gordon had to be defined by a single quality, it would be the bursting effervescence infusing songs that blithely blur the lines between art song
and the high-end Broadway music of Leonard Bernstein
and Stephen Sondheim." Gordon has gained much popularity among classical and music theater singers alike.
In the hands of classical singers, Gordon's pieces give
the impression of art songs. Likewise, when performed
by stage and cabaret singers, they sound like music theater. His works include art song, opera, ballet, operetta,
chamber music, film scores, and music theater. He has
written works commissioned and performed by sopranos Ren6e Fleming and Angelina R6aux. Others who
have performed and recorded his songs include classical singers Lorraine Hunt, Kurt Ollman, Teresa Stratas,
Dawn Upshaw, and Broadway and cabaret singers Betty
Buckley, Kristin Chenoweth, Andrea Marcovicci, and
Audra McDonald. His music has been performed at
Carnegie Hall, Alice Tully Hall, Lincoln Center, Houston
Grand Opera, Lyric Opera of Chicago, the Joseph Papp
Public Theater, the Ravinia Festival, the American Music
Theater Festival, as well as venues in England, France,
Germany, and India. His honors include the Music
Theater Foundation Award, the National Institute for
Music Theater Award, the Stephen Sondheim Award,
the Jonathan Larson Foundation Award, and the American Academy of Arts and Letters Richard Rodgers Award.
He was educated at Carnegie Mellon University and has
taught at the Juilliard School, Yale University, and
Northwestern University.
Amanda McBroom is best known for her songs "The
Rose" and "Crimes of the Heart." Her work is heavily
steeped in the contemporary club/cabaret tradition, blending genuine sentiments with jazz and popular music
styles. She writes in many musical styles including smoky
jazz, soft-rock, country ballads, and intimate personal
story songs. McBroom's career was launched on The
Tonight Show after Bette Midler's recording of "The Rose"
hit number one on charts worldwide in 1979. The song
won her the Golden Globe Award. She is highly acclaimed
as an emotionally evocative singer/cabaret artist, poet,
and songwriter. She has performed at concert halls around
460
the world including Carnegie Hall in New York, the Ford
Amphitheatre in Los Angeles, Wolftrap and Kennedy
Center in Washington D.C., as well as in London, Australia,
and Taiwan. Her songs have been recorded by Harry
Belafonte, Betty Buckley, Judy Collins, Barbara Cook,
the Manhattan Transfer, Barry Manilow, Anne Murray,
and Leanne Rimes. She has starred in JacquesBrel ....
Seesaw (Broadway), Sweeney Todd, A Little Night Music,
and Maine, in productions mounted in New York, Los
Angeles, San Francisco, and Europe. She also created
Heartbeats,a musical based on her songs.
Ben Moore (b. 1960) is gaining more and more recognition as a composer of specialty songs for noted opera
singers. He is probably best known for "Sexy Lady," written for mezzo soprano Susan Graham, and "Wagner Roles"
for soprano Deborah Voigt. Moore's songs are composed
in many styles, from classical settings of great poets to original comic novelty material for cabaret and concert artists.
Also following current Broadway trends, Moore's cabaret
and theater songs combine traditional music theater and
commercial singer/songwriter styles. While his songs
are often simple in structure, the piano parts are often
rhapsodic in nature, clearly indicating his classical background. His songs have been performed and recorded
by Audra McDonald, Jerry Hadley, and Robert White.
His works have been featured on the Metropolitan Opera
radio broadcast, at Alice Tully Hall at Lincoln Center,
and at Washington's Kennedy Center. His songs also have
been showcased in New York's ASCAP Songwriters Series.
His music theater scores include Henry and Company,
written with Barry Kleinbort and commissioned by Jerry
Hadley, and Bye, Bye, Broadway, with book and lyrics by
Carl Ritchie. He is currently working on a musical fantasy called The Bone Chandelierwith book by novelist
and NPR host Ellen Kushner. Holding an MFA from the
Parsons School of Design, his career includes painting
as well as songwriting.
Richard Pearson Thomas (b. 1957) is gaining national
recognition as a classically trained composer of opera,
chamber music, art and cabaret songs, music theater,
and film music. Like Bolcom, his three volumes of
CabaretSongs combine contemporary classical harmonic
and rhythmic language with the European cabaret tradition and popular American musical style. Thomas
blends current classical dissonances into popular music rhythms. His songs present a variety of styles includJOURNAL OF SINGING
PopularSong and Music Theater 11
ing a dissonant tango, a modern version of a Parisian
Valse, and spare expansive Coplandesque chordal writing that supports deeply emotional text. Thomas was
born in Montana, graduated from Eastman School of
Music, and studied film scoring at the University of
Southern California. His works have been presented in
New York's Lincoln Center and Carnegie Hall, Salt Lake
City Opera, Houston Grand Opera, Chautauqua Opera,
the Winter Olympics Arts Festival, the Congressional
Forum, and the Covent Garden Festival. His songs have
been recorded by Kurt Ollmann, William Sharp, Sanford
Sylvan, and Patricia Punty. His Off-Off Broadway musicals include Ladies in a Maze and Cafe Society. His
song 'AIDS Anxiety" appears on the Harmonium Mundi
recording AIDS Quilt Songbook. He earned the Best
Original Score award from the 1997 New York University
First Film Festival. He has served as coach/music director at many prestigious music festivals, and for college and
university music departments, and opera companies.
WORKS BY NEXT GENERATION
SONGWRITERS
Biscardi, Chester [text by William Zinsser]. Modern Love Songs,
for voice and piano (15 minute set, available for high voice and
for medium voice). New York: Biscardi Music Press; selling agent:
Classical Vocal Reprints, 1997-2002. Includes: "What a Coincidence"; "I Wouldn't Know About That"; "Someone New"; "Now
You See It, Now You Don't"; "At Any Given Moment."
__ [lyrics by Sheldon Harnick]. Chez Vouz, for soprano and
piano. New York: Biscardi Music Press, 1983.
Bolcom, William, and Arnold Weinstein. CabaretSongs Volumes
I and 2for medium voice and piano.Milwaukee: Hal Leonard
Corp., 1979 and 1985.
___
CabaretSongs Volumes 3 and 4for medium voice andpiano. Milwaukee: Hal Leonard, Corp., 1997.
__
Ancient Cabaret:Songs about Art, for medium voice and
piano.New York: Edward B. Marks Music Co., distributed by Hal
Leonard, Corp., 2001.
__
Lime Jello Marshmallow Cottage Cheese Surprise. New
York: Edward B. Marks Music Co., distributed by Hal Leonard,
Corp., 1980.
Night, Make My Day. New York: Edward B. Marks Music
Co., distributed by Hal Leonard, Corp., 1991/1995.
___
The Same Thing. New York: Edward B. Marks Music Co.
MARCH/APRIL 2007
Tears at the Happy Hour. New York: Edward B. Marks
Music Co.
Bucchino, John. Grateful: The Songs of John Bucchino. Milwaukee:
Williamson Music, distributed through Hal Leonard Corp., 2000
[transpositions of some songs are available at www.john
bucchino.com].
Carnelia, Craig. The Songs of CraigCarnelia.Milwaukee: Hal
Leonard Corp., 1993.
contemporarycabaret.Milwaukee: Hal Leonard Corp., no publication date given. [Songs from the New York cabaret scene by
Allen/Hackady, Bergman/Grusin, Bolcom/Weinstein, Bricusse/
Wildhorn, Bucchino, Carnelia, DeForest, Dinerman, Fingerette,
Frishberg, Garl/Shire, Gordon, Kander/Ebb, Larson, Lavin,
Leiber/Stroller/Dinn/Sembello, McDonough, Sondheim, Telson,
Waldrop/Gallagher, Webb, Webber/Black.]
Goldrich, Zina, and Marcy Heisler. Goldrich and HeislerSongbook
Volume 1. New York: The Marcy and Zina Co., distributed through
Hal Leonard Corp., 2003.
Gordon, Ricky Ian. FindingHome: The Songs of Ricky Ian Gordon.
Milwaukee: Williamson Music, distributed through Hal Leonard
Corp., 2003.
Only Heaven-Medium High Voice. Milwaukee: Williamson
Music, distributed through Hal Leonard Corp., 1997.
__
A Horse With Wings-Medium High Voice. Milwaukee:
Williamson Music, distributed through Hal Leonard Corp., 1995.
Genius Child-High Voice. Milwaukee: Williamson Music,
distributed through Hal Leonard Corp., 1995.
McBroom, Amanda. Amanda McBroom Portraits.Ventura, CA:
Creative Concepts Publishing Corp., 1999.
Moore, Ben. Cabaret and Theater Songs-Medium High Voice
and Piano. New York: Benjamin C. Moore Publishing; selling
agent: Classical Vocal Reprints, 2004.
____
Sexy Lady: For Susan Graham-Mezzo-Sopranoand Piano.
New York: Benjamin C. Moore Publishing; selling agent: Classical
Vocal Reprints, 2004.
Wagner Roles: For Deborah Voigt-Soprano and Piano.
New York: Benjamin C. Moore Publishing; selling agent: Classical
Vocal Reprints, 2004.
Thomas, Richard Pearson. CabaretSongs Volume I (available for
high voice and for medium voice). Riverdale, NY: Portage Press
Publishing, 2001.
CabaretSongs Volume 2 (available for high voice and for
medium voice). Riverdale, NY: Portage Press Publishing, 2003.
461
Eric R. Bronner
___ Cabaret Songs Volume 3 (available for high voice and for
medium voice). Riverdale, NY: Portage Press Publishing, 2006.
TRADITIONAL STANDARDS
ANTHOLOGIES
The Best StandardsEver,Volume I (A-L). Milwaukee: Hal Leonard
Corp., 1986, 1991.
The Best StandardsEver,Volume 2 (M-Z). Milwaukee: Hal Leonard
Corp., 1986, 1991.
More of The Best Standards Ever, Volume I (A-L). Milwaukee:
Hal Leonard Corp., no publication date given.
More of The Best StandardsEver, Volume 2 (M-Z). Milwaukee:
Hal Leonard Corp., no publication date given.
New Standards:35favoritesfrom the 60s to today. Milwaukee:
Hal Leonard Corp., no publication date given.
NOTE: Hal Leonard Corp. and Warner Bros. Publications also
publish many volumes of collections by individual songwriters,
including Harold Arlen, Irving Berlin, Hoagy Carmichael, Dietz
and Schwartz, George Gershwin, Jerome Kern, Cole Porter,
Rodgers and Hammerstein, Rodgers and Hart, and many others
from the traditional American Songbook heritage. Likewise, one
may easily find song books of pop-rock performers (the Beatles,
the Carpenters, Billy Joel, Elton John, Joni Mitchell, Carol King,
etc.) with suitable crossover material for classical singers.
SOURCES
"Chester Biscardi, Composer, Bio.' ChesterBiscardi.com(18 August
2005), http://chesterbiscardi.com/
"John Bucchino Biography'"JohnBucchino.com(18 August 2005),
www.j ohnbucchino.com/
Michael Cardonick, Creative Artists Agency. "Marcy and ZinaWords and Music-About Us:' GoldrichandHeisler.com,2003-2004
(18 August 2005), http://www.goldrichandheisler.com/
"Craig Carnelia Biography!' The Songs of CraigCarnelia.Milwaukee:
Hal Leonard Corp., 1993.
"Ricky Ian Gordon Biography.' FindingHome: The Songs of Ricky
Ian Gordon. Milwaukee: Williamson Music, distributed through
Hal Leonard Corp., 2003.
462
David A. Jansen. Tin Pan Alley: The Composers, the Songs, the
Performers and their Times. London, New York, Sydney: Omnibus
Press, 1990.
Steven Johnson, "Bolcom, William (Eden)," in Laura Macy (ed.),
Grove Music Online (1 April 2002), http://www.grovemusic.com/
"Amanda McBroom Biography." The Amanda McBroom Homepage
(18 August 2005), http://www.amcbroom.com/
"Ben Moore Biography." MooreArt.com, 2000-2004 (18 August
2005), http://www.mooreart.com/
"Richard Pearson Thomas:' DaringDiva.com,October 1998 (1
April 2002), http://www.daringdiva.com/
Eric R. Bronner, tenor, of Bristol, RI, performed his concert "Next Generation: New Writers of the Great American Songbook" at the New England Regional NATS Conference in August 2005, and at many music
series venues throughout New England. He performs opera, art song,
chamber music, oratorio, music theater, and cabaret throughout New
England. His performances have aired on BBC, NPR, and PBS. Internationally, he appeared as a soloist in the Aldeburgh Music Festival-Fringe
Festival in England. He has performed roles nationally at the Napa (CA)
Zarzuela Festival, Townsend Opera (Modesto, CA), First Coast Opera (St.
Augustine, FL), and as a guest soloist at several midwestern colleges.
He performs roles regularly with American Classics (Boston, MA), Opera
Providence (RI), Cape Cod Opera (MA), and has sung many roles with
Longwood Opera (Boston), and Ocean State Light Opera (Providence).
A NATS Intern Program alumnus and a Certified McClosky Vocal Technician, he serves on the voice and communication faculties of Roger Williams
University and Salve Regina University, teaching applied voice, vocal methods, diction and articulation, and public speaking. He has published two
other articles in the Journalof Singing.
He earned his MM on scholarship at Longy School of Music (Cambridge,
MA). He studied pre-WWII European cabaret technique on scholarship
at the Britten-Pears School for Advanced Musical Studies inSuffolk, England, and studied contemporary American cabaret style at the Cabaret
Conference at Yale University. He also holds a BA inTheatre from Purdue University and an MS in Journalism from Ohio University. For many
years he served as the musical director for Flickers Arts Collaborative
(Newport, RI), and was a founder/artistic director of the Jamestown Chamber Music Series (RI). He is a two-time recipient of the Arts Education
Fellowship from the Rhode Island Foundation.
JOURNAL OF SINGING
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TITLE: New “Standards” for Singers: The Next Generation of
Great American Songbook Writers
SOURCE: J Singing 63 no4 Mr/Ap 2007
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